THE  METROPOLITAN  MUSEUM 
OF  ART 

WINSLOW  HOMER 

MEMORIAL  EXHIBITION 


MCMXI 


CATALOGUE 

OF  A 

LOAN  EXHIBITION 

OF 

PAINTINGS 

BY 

WINSLOW  HOMER 


OF  THIS  CATALOGUE  AN  EDITION  OF 
2^00  COPIES  WAS  PRINTED 
FEBRUARY,  I 9 I I 


Digitized  by  the  Internet  Archive 
in  2015 


https://archive.org/details/catalogueofloaneOOhome 


FISHING  BOATS  OFF  SCARBOROUGH 
BY 

WINSLOW  HOMER 
LENT  BY  ALEXANDER  W.  DRAKE 


THE  METROPOLITAN  MUSEUM 
OF  ART 


CATALOGUE 

OF  A 

LOAN  EXHIBITION 

OF 

PAINTINGS 

BY 

WINSLOW  HOMER 


NEW  YORK 

FEBRUARY  THE  SIXTH  TO 
MARCH  THE  NINETEENTH 
MCMXI 


COPYRIGHT,  FEBRUARY,  I 9 I I 
BY 


THE  METROPOLITAN  MUSEUM  OF  ART 


LIST  OF  LENDERS 


National  Gallery  of  Art 
Pennsylvania  Academy  of  the  Fine  Arts 
The  Lotos  Club 
Edward  D.  Adams 
Alexander  W.  Drake 
Louis  Ettlinger 
Richard  H.  Ewart 
Hamilton  Field 
Charles  L.  Freer 
Charles  W.  Gould 
George  A.  Hearn 
Charles  S.  Homer 
Alexander  C.  Humphreys 
John  G.  Johnson 
Burton  Mansfield 
Randall  Morgan 
H.  K.  Pomroy 
Mrs.  H.  W.  Rogers 
Lewis  A.  Stimson 
Edward  T.  Stotesbury 
Samuel  Untermyer 
Mrs.  Lawson  Valentine 
W.  A.  White 


COMMITTEE  ON 
ARRANGEMENTS 

John  W.  Alexander,  Chairman 

Edwin  H.  Blashfield 
Bryson  Burroughs 
William  M.  Chase 
Kenyon  Cox 
Thomas  W.  Dewing 
Daniel  C.  French 
Charles  W.  Gould 
George  A.  Hearn 
Charles  S.  Homer 
Samuel  Isham 
Roland  F.  Knoedler 
Will  H.  Low 
Francis  D.  Millet 
Edward  Robinson 
J.  Alden  Weir 


TABLE  OF  CONTENTS 


Frontispiece,  Opposite  Title-Page 

Page 

List  of  Lenders  . . . . 

Committee  on  Arrangements 

. viii 

Table  of  Contents  .... 

ix 

Winslow  Homer 

xi 

Paintings  in  Public  Museums 

. xxi 

Bibliography  ...... 

xxiii 

Catalogue : 

Oil  Paintings 

3 

Water  Colors  . 

• 27 

Index  ......... 

• 49 

WINSLOW  HOMER 


WINSLOW  HOMER 


w 


INSLOW  HOMER  was  born  in 


Boston,  February  24,  1836.  His 


father,  Charles  Savage  Homer,  came  of 
seafaring  stock  and  his  mother,  Henrietta 
Benson,  was  a descendant  of  early  settlers 
at  Hingham,  Mass. 

When  Homer  was  six  years  old  the  fam- 
ily moved  to  Cambridge,  where  the  boy 
was  sent  to  school.  He  early  evinced  a 
taste  for  drawing,  and  by  the  time  he  was 
twelve  years  old  had  made  many  sketches 
which  showed  his  interest  in  hunting,  fish- 
ing, and  out-door  life.  His  father  did  not 
discourage  his  son’s  artistic  efforts,  but 
apprenticed  the  young  man  at  the  age  of 
sixteen  to  a lithographer  in  Boston  named 
Bufford.  During  the  two  years  of  his 
apprenticeship  he  made  numerous  title- 
pages  for  music  published  by  Oliver  Ditson 


Xlll 


WINSLOW  HOMER 


and  an  elaborate  drawing,  which  included 
portraits  of  the  entire  Massachusetts  State 
Senate. 

In  1857,  when  Homer  was  twenty-one, 
he  took  a small  room  in  Ballou’s  Picto- 
rial Building,  Winter  Street,  Boston,  and 
began  to  work  independently.  He  made 
drawings  for  Ballou’s  Monthly  and  other 
illustrated  periodicals,  and  about  1858  the 
first  of  a long  series  of  drawings  for  Har- 
per’s Weekly.  His  earliest  subjects  were 
Boston  scenes.  He  went  to  New  York  in 
1 859  and  rented  a studio  in  Nassau  Street. 
Then  for  the  first  time  he  began  to  study 
painting.  Frederick  Rondel  showed  him 
how  to  set  a palette  and  use  the  brushes, 
and  the  following  year  he  attended  an 
evening  class  at  the  National  Academy  of 
Design,  then  on  Thirteenth  Street.  In 
1861  he  moved  to  the  old  New  York  Uni- 
versity Building  in  Washington  Square, 
where  many  of  the  artists  of  that  day  had 
their  studios. 

At  the  outbreak  of  the  war,  Winslow 


xiv 


WINSLOW  HOMER 


Homer  accepted  the  post  of  artist-corre- 
spondent for  Harper  & Brothers.  In 
Washington  he  made  sketches  of  Lincoln’s 
inauguration  and  then  went  to  the  front 
with  McClellan’s  Army  of  the  Potomac. 
He  was  with  this  army  until  the  Seven 
Days’  Battle,  when  his  restless  nature  led 
him  to  return  to  Washington.  Subse- 
quently he  went  back  to  Virginia  several 
times  to  make  studies  of  negro  life,  which 
he  later  used  in  his  pictures,  for  his 
earliest  paintings  of  consequence  were  of 
camp  life  and  negro  scenes. 

In  1863  he  sent  to  the  exhibition  of 
the  National  Academy  of  Design  in  New 
York  The  Last  Goose  at  Yorktown,  and 
Home,  Sweet  Home.  He  had,  however, 
once  before  exhibited  at  the  Academy,  in 
i860,  when  his  Sketch  in  Central  Park 
was  accepted.  He  was  elected  an  Asso- 
ciate of  the  Academy  on  May  9,  1864, 
and  an  Academician  on  May  10,  1865. 
During  the  next  ten  years  he  exhibited 
regularly  at  the  Academy,  sending  The 


xv 


WINSLOW  HOMER 


Bright  Side  (No.  i in  this  exhibition)  in 
1865  and  Prisoners  from  the  Front  in 
1 866.  These  pictures  were  widely  noticed 
both  at  home  and  in  Paris,  where  they 
were  shown  at  the  Exposition  of  1867. 
It  was  at  this  time  that  Homer  made 
his  first  trip  to  Europe,  spending  several 
months  in  Paris  visiting  the  galleries. 

Returning  to  the  United  States  in 
1868,  he  remained  in  New  York  only  a 
short  time,  and  during  the  rest  of  his  life 
came  to  this  city  only  for  brief  visits.  He 
made  frequent  trips  to  Florida,  Bermuda, 
New  England,  the  Adirondacks,  and  Can- 
ada, and  in  these  localities  made  many 
small  oil  paintings  and  water  colors 
which  were  hung  in  the  exhibitions  of  the 
period.  He  became  a member  of  the 
American  Water  Color  Society  in  1876, 
and  that  year  was  represented  at  the 
Philadelphia  Centennial  by  The  Amer- 
ican Type,  and  Snapping  the  Whip  (No. 
2).  To  the  Paris  Exposition  of  1878 
he  sent  A Country  School-room,  The 


xvi 


WINSLOW  HOMER 


Visit  of  the  Mistress  (No.  3),  Snapping 
the  Whip,  and  Sunday  Morning  in  Old 
Virginia. 

He  went  to  Gloucester,  Massachusetts, 
in  1878,  and  as  a result  produced  a series 
of  water  colors  dealing  with  shore  life. 
From  1881  to  1883  he  was  in  England 
at  Newcastle-on- Tyne.  A record  of 

these  years  is  contained  in  many  drawings 
and  water  colors  produced  at  this  time  or 
painted  later  from  studies  made  then. 
To  the  exhibition  of  the  American  Water 
Color  Society  in  1883  he  sent  A Voice 
from  the  Cliffs  (No.  35),  Inside  the  Bar, 
The  Incoming  Tide,  and  Tynemouth. 
He  was  represented  at  the  Academy  that 
year  by  a large  oil  painting.  The  Coming 
Away  of  the  Gale,  and  in  successive  years 
after  that  date  by  The  Life  Line,  The  Her- 
ring Net  (No.  6),  Lost  on  the  Grand  Banks, 
Undertow  (No.  7),  and  Eight  Bells  (No.  8). 
This  last  painting  was  his  contribution 
in  1888,  from  which  date  no  work  by 
Winslow  Homer  appeared  at  the  Acad- 


xvn 


WINSLOW  HOMER 


emy  until  1906,  when  his  Gulf  Stream, 
purchased  by  the  Metropolitan  Museum 
of  Art,  and  A Light  on  the  Sea,  were 
shown. 

During  these  years  he  made  frequent 
trips  to  the  Bermudas  and  Bahamas  and 
painted  many  water  colors  which  were 
occasionally  seen  at  the  Pennsylvania 
Academy  of  the  Fine  Arts,  Philadelphia; 
Carnegie  Institute,  Pittsburg,  and  other 
cities.  To  the  Pan-American  Exposition 
held  at  Buffalo,  during  the  summer  of 
1901,  Homer,  choosing  to  be  represented 
by  water  colors  only,  sent  a group  of 
twenty-one  scenes  from  the  Bahamas  and 
Bermudas.  The  annual  exhibition  of  the 
New  York  Color  Club  in  the  autumn  of 
1902  contained  eighteen  pictures  by  him, 
covering  a number  of  years  and  a variety 
of  subjects.  At  the  annual  exhibition  of 
the  Carnegie  Institute,  Pittsburg,  in  1908, 
he  was  represented  by  twenty-two  oil 
paintings. 

About  1890  Winslow  Homer  settled  at 


xvi  11 


WINSLOW  HOMER 


Scarboro,  Maine,  where  the  best  known 
of  his  later  works  were  painted — the  sea 
and  rock  pictures  and  those  of  fishermen 
at  their  tasks.  He  died  at  his  home  at 
Front's  Neck,  Scarboro,  September  29, 
1910. 

The  honors  awarded  to  Winslow 
Homer  include  a gold  medal  at  the 
Columbian  World’s  Fair,  Chicago,  1893; 
the  chronological  medal  and  purchase 
at  the  Carnegie  Institute,  Pittsburg,  in 
1896;  the  gold  medal  of  the  Pennsyl- 
vania Academy  of  the  Fine  Arts  in  the 
same  year;  a gold  medal  at  the  Paris 
Exposition  in  1900;  a gold  medal  at  the 
Pan-American  Exposition,  Buffalo,  in 
1901;  the  Temple  gold  medal  at  the 
Pennsylvania  Academy  of  the  Fine  Arts 
in  1902;  and  a gold  medal  at  the  Loui- 
siana Purchase  Exposition,  St.  Louis,  in 
1904. 

Samuel  Isham  in  his  History  of  Amer- 
ican Painting  in  speaking  of  Winslow 
Homer  says,  “Homer’s  experience  as  an 


xix 


WINSLOW  HOMER 


illustrator  perhaps  aided  the  clearness  and 
directness  of  his  vision.  When  he  began 
to  paint,  his  pictures  were  from  the  first 
firmly  constructed,  well  drawn,  and  with 
an  amazing  power  of  striking  the  mind. 
They  were  manifestly  true.  The  con- 
viction of  their  veracity,  of  their  absolute 
reproduction  of  a thing  seen,  is  over- 
powering.” 


OIL  PAINTINGS  IN  PUBLIC 
MUSEUMS 


Paris — Luxembourg. 

A Summer  Night. 

Boston — Museum  of  Fine  Arts. 
The  Fog  Warning. 

The  Lookout— All’s  Well. 


Cincinnati— Museum  Association. 

Hauling  in  the  Anchor. 

Milwaukee — Layton  Art  Gallery. 

Hark,  the  Lark. 

New  York — Metropolitan  Museum  of 
Art. 


Cannon  Rock.  (Gallery  No.  14.) 

The  Gulf  Stream.  (Gallery  No.  12.) 

Harvest  Scene.  (Gallery  No.  13.) 

Northeaster.  (Gallery  No.  14.) 

Searchlight;  Harbor  Entrance,  Santiago 

de  Cuba.  (Gallery  No.  14.) 

Water  Colors  (Twelve,  in  the  exhibi- 
tion.) 


xxi 


PAINTINGS  IN  MUSEUMS 


Philadelphia — Pennsylvania  Academy 
of  the  Fine  Arts. 

The  Fox  Hunt. 

Pittsburg — Carnegie  Institute. 

The  Wreck. 

Providence — Rhode  Island  School  of 
Design. 

On  a Lee  Shore. 

Washington — Corcoran  Art  Gallery. 

A Light  on  the  Sea. 

National  Gallery  of  Art. 

High  Cliff,  Coast  of  Maine. 

The  Visit  of  the  Mistress. 


BIBLIOGRAPHY 


Brinton,  Christian.  Winslow  Homer; 
Scribner’s  Magazine,  J anuary 9 1 9 1 1 , 
pp.  9-23. 

Caffin,  Charles  H.  American  Mas- 
ters of  Painting;  pp.  71-80.  New 
York,  1902. 

Story  of  American  Painting;  pp.  233- 
236.  New  York,  1907. 

Champlin  & Perkins.  Cyclopedia  of 
Painters  and  Paintings.  New  York, 
1 892. 

Coburn,  F.  W.  Winslow  Homer’s  Fog 
Warning;  New  England  Magazine, 
1908,  New  Series  38,  pp.  616-617. 

Coffin,  William  A.  A Painter  of  the 
Sea;  Century  Magazine,  September 
1899,  pp.  651-654. 


XXlll 


BIBLIOGRAPHY 


Cole,  W.  W.  Crayon  Studies  by  Wins- 
low Homer;  Brush  and  Pencil,  1902, 
Vol.  XI,  pp.  271-275. 

Downes,  William  Howe.  Twelve 
Great  Artists;  pp.  1 05-1  25.  Boston, 
1 900. 

Fowler,  Frank.  Winslow  Homer, 
Exponent  of  Design  in  Painting; 
Scribner's  Magazine,  May,  1903,  pp. 
638-639. 

Howard,  W.  S.  Winslow  Homer's 
Northeaster;  Harper’s  Magazine, 
March,  1910,  pp.  5 14-5 15. 

Isham,  Samuel.  The  History  of  Amer- 
ican Painting;  pp.  350-358.  New 
York,  1905. 

McSpadden,  J.  W.  Famous  Painters 
of  America;  pp.  167-189.  New  York, 

I9°7- 

Mechlin,  Leila.  The  Art  of  Winslow 
Homer;  International  Studio,  June, 
1908,  pp.  cxxv-cxxxvi. 


xxiv 


BIBLIOGRAPHY 


Morton,  F.  W.  Winslow  Homer, 
Artist;  Brush  and  Pencil,  Vol.  X,  1 902, 
pp.  40-47. 

Saint  Gaudens,  Homer.  Winslow 
Homer;  Critic,  April,  1905,  pp.  322- 

323e 

Sheldon,  G.  W.  American  Painters; 
pp.  25-29.  New  York,  1879. 

Van  Rensselaer,  Mrs.  Schuyler.  An 
American  Artist  in  England;  Century 
Magazine,  November,  1 883,  pp.  13-20. 

Six  Portraits;  Winslow  Homer,  pp. 

237-274.  Cambridge,  1889. 

1 


CATALOGUE 


CATALOGUE 


OIL  PAINTINGS 

i THE  BRIGHT  SIDE 
Four  negro  teamsters  are  lying  in  the  sun 
against  the  side  of  a tent.  The  man  at 
the  right  wears  a battered  high  hat,  a 
military  coat,  and  top  boots,  and  holds  a 
whip  in  his  left  hand ; beyond  his  raised 
knee  is  the  head  of  the  second  figure  in  a 
peaked  military  cap.  The  next  one 
wears  a red  shirt  and  broad-brimmed  gray 
hat,  and  his  hands  are  clasped  back  of  his 
head;  the  farthest  one,  with  arms  folded, 
wears  a broad-brimmed  military  hat.  In 
the  opening  of  the  tent  is  the  head  of 
another  negro  with  a broad-brimmed  hat; 
a corn-cob  pipe  is  in  his  mouth.  Beyond, 
at  the  left,  are  commissariat  wagons  with 
rounded  canvas  tops  and  near  by  are 
unharnessed  mules.  In  the  distance  is 
the  camp.  In  the  immediate  foreground, 

3 


CATALOGUE  OF  PAINTINGS 


at  the  right,  part  of  a barrel  shows.  Light 
blue  sky  and  sunlight. 

Lent  by  W.  H.  Hamilton  to  the  National 
Academy  of  Design,  1865,  Paris  Expo- 
sition of  1867,  and  the  Winter  Academy 
of  1867-8. 

From  the  Thomas  B.  Clarke  Sale,  1899. 
Illustrated  in  Art  and  Artists  of  Our 
Times  by  Clarence  Cook,  p.  256,  under 
the  title  Light  and  Shade. 

Oil  on  canvas:  h.  13^;  w.  17^.  Signed 
at  lower  left:  Winslow  Homer— N.Y.— 65. 
Lent  by  W.  A.  White. 

2 SNAPPING  THE  WHIP 
Children  are  playing  in  a level  field  in 
front  of  a red  schoolhouse.  Barefooted 
boys  holding  hands  form  a line  across  the 
picture.  The  boy  at  the  end  of  the  line 
at  the  right  has  his  arms  about  his  neigh- 
bor trying  to  pull  him  away,  while  at  the 
other  end  of  the  line  two  boys  have 
lost  their  balance  and  are  falling  down. 

4 


BY  WINSLOW  HOMER 


Beyond,  at  the  left,  are  two  little  girls  with 
a hoop  and  other  children  playing.  Wild 
flowers  are  in  the  immediate  foreground; 
back  of  the  schoolhouse  is  a wooded  hill 
with  the  foliage  tinged  with  red,  and  at 
the  left  is  a distant  blue  hill.  Light  sky 
with  clouds. 

Lent  to  the  Philadelphia  Centennial, 
1876,  and  to  the  Paris  Exposition,  1878, 
by  John  H.  Sherwood.  From  the  Sher- 
wood Sale,  1879.  Illustrated  in  line 
in  the  Sherwood  catalogue. 

Oil  on  canvas:  h.  22 w.  36.  Signed 
at  lower  right:  homer  1872. 

Lent  by  Richard  H.  Ewart. 

3 THE  VISIT  OF  THE  MISTRESS 
The  interior  of  a cabin.  At  the  right 
stands  a lady  with  profile  toward  the  left 
facing  three  negro  women  and  a baby. 
The  mistress  has  white  hair  and  wears  a 
black  dress  with  a white  lace  kerchief; 
from  her  left  hand  hangs  a red  fan.  The 

5 


CATALOGUE  OF  PAINTINGS 


negress  in  the  center  of  the  picture  stands 
against  a closed  door,  with  hands  hanging 
at  her  sides.  She  wears  a white  ban- 
dana, a brownish  torn  and  patched  dress, 
and  a white  apron.  The  next  woman, 
who  stands  with  a child  in  her  arms, 
has  a pink  apron  over  a dark  skirt,  a gray- 
waist  with  a red  patch,  and  a white  ban- 
dana; the  baby  wears  a white  sunbonnet. 
At  the  extreme  left,  seated  on  a stool  in 
front  of  the  fireplace,  is  a younger  woman 
with  her  elbows  in  her  lap  and  her  cheek 
resting  in  her  left  hand;  she  wears  a light 
bandana,  blue  waist,  and  brownish  skirt 
and  apron.  Back  of  her  on  the  hob  is  a 
tin  coffee-pot. 

Shown  at  the  Paris  Exposition,  1878; 
National  Academy  of  Design,  1880.  Pur- 
chased at  the  Thomas  B.  Clarke  Sale, 
1899,  by  M.  H.  Lehman;  presented  to 
the  National  Gallery,  Washington,  by 
William  T.  Evans.  Illustrated  in  Inter- 
national Studio,  June,  1908. 

6 


BY  WINSLOW  HOMER 


Oil  on  canvas:  h.  18^;  w.  24^  . Signa- 
ture scratched  at  lower  right:  homer  ’76, 
and  on  the  edge  of  the  stool  the  letters  ho 
are  painted. 

Lent  by  the  National  Gallery  of  Art. 

4 CAMP  FIRE 

A night  scene  with  a man  lying  on  a bed 
of  pine  needles  in  a hut  built  of  saplings 
and  walled  with  bark.  Another  man  is 
seated  on  the  ground  outside  with  his 
back  against  the  hut.  His  face,  in  profile 
to  the  right,  is  lit  by  the  glow  of  the  fire 
in  the  foreground,  which  sends  forth  bright 
red  sparks.  The  background  consists  of  a 
thick  forest  and  at  the  right  is  a partly 
uprooted  cedar. 

Exhibited  at  the  National  Academy  of 
Design,  1880  and  1910;  Columbian  Ex- 
position, Chicago,  1893.  From  the 
Thomas  B.  Clarke  Sale,  1899. 

Oil  on  canvas:  h.  24^;  w.  38.  Signed 
at  lower  right:  homer  j8o. 

Lent  by  H.  K.  Pomroy. 

7 


CATALOGUE  OF  PAINTINGS 


5 EARLY  EVENING 
The  figures  of  two  women  standing  on 
the  top  of  a rock  are  silhouetted  against 
the  sunset  sky.  Slightly  below  them,  at 
the  left,  with  the  lower  part  of  his  figure 
hidden  by  the  rocks,  is  a bearded  sailor, 
who  faces  in  profile  towards  the  sea  at 
the  right;  he  is  dressed  in  oilskins  and 
holds  a long  telescope  in  his  right  hand. 
The  women  wear  dark  skirts,  and  their 
white  aprons  are  blown  in  the  wind;  the 
one  at  the  left,  who  is  bareheaded  and 
has  a red  and  black  shawl  crossed  over 
her  breast,  is  knitting  with  red  yarn;  the 
other  one,  with  a black  and  white  shawl 
over  her  head  and  shoulders,  holds  her 
knitting  in  the  left  hand,  which  hangs  at 
her  side,  and  her  right  arm  is  about  her 
companion.  Low  bushes  are  in  the  fore- 
ground at  the  left.  The  sky  is  yellow, 
reddening  at  the  horizon  on  the  right ; 
there  are  purple  clouds  and  a crescent 
moon  is  at  the  top  of  the  picture  near 
the  center. 


8 


BY  WINSLOW  HOMER 


Exhibited  at  the  Corcoran  Gallery,  Wash- 
ington, 1908;  Carnegie  Institute,  Pitts- 
burg, 1908.  Illustrated  in  International 
Studio,  June,  1908. 

Oil  on  canvas:  h.  33;  w.  38^.  Signed 
at  lower  left  of  centre:  homer  1907. 
Inscribed  on  the  back:  Painted  in  1881  — 
Cut  down  from  large  picture  and  put 
in  present  shape  Dec.  1907. 

Lent  by  Charles  L.  Freer. 

6 BANKS  FISHERMEN 
A dory  seen  from  the  stern  with  two  men 
pulling  in  a net  filled  with  small  fish. 
One  of  the  fishermen  stands  in  the  center 
of  the  dory  and  leans  over,  emptying  the 
herring  from  the  net  into  the  bottom  of 
the  boat;  his  companion,  seated  at  the 
left  on  the  gunwale,  with  his  back  toward 
the  spectator,  plays  out  the  empty  net. 
Back  of  the  figures,  at  the  right,  the 
crossed  oar  blades  rest  against  the  bow  of 
the  dory.  In  the  foreground  the  water 
is  greenish  and  near  the  center  is  a red 

9 


CATALOGUE  OF  PAINTINGS 


buoy.  Through  the  hazy  distance  three 
sail-boats  appear  on  the  horizon  at  the 
right  and  one  at  the  left. 

Exhibited  at  the  National  Academy  of 
Design,  Autumn,  1885,  with  the  title, 
The  Herring  Net;  at  the  Columbian 
Exposition,  Chicago,  1893,  as  Herring 
Fishing,  receiving  a medal;  at  Carnegie 
Institute,  Pittsburg,  1908. 

Oil  on  canvas:  h.  30;  w.  48^3  • Signed 
at  lower  right:  homer  '85. 

Lent  by  Charles  W.  Gould. 

7 UNDERTOW 

Two  exhausted  women,  clinging  to  each 
other,  are  being  drawn  toward  the  shore 
by  two  men.  The  man  at  the  right, 
with  bare  chest  and  wearing  an  oilskin 
hat,  lifts  one  of  the  women  by  her  blue 
bathing  suit;  at  the  left  a man  in  purple 
bathing  trunks  is  struggling  against  the 
current,  his  right  hand  raised  to  shield 
his  eyes  from  the  glare  and  the  left  one 
dragging  a rope,  which  is  fastened  about 

10 


BY  WINSLOW  HOMER 


the  waist  of  a woman  whose  face  is  up- 
turned. Immediately  back  of  the  figures 
is  a dark  blue-green  wave  which  breaks 
at  the  left;  the  foamy  water  in  the  fore- 
ground is  pale  green.  Violet-gray  sky. 

Shown  at  the  National  Academy  of  De- 
sign, 1887;  Carnegie  Institute,  Pittsburg, 
1908.  Illustrated  in  Van  Dyke’s  History 
of  Painting,  p.  269. 

Oil  on  canvas:  h.  30;  w.  47^.  Signed 
at  lower  right:  Winslow  Homer  1886. 

Lent  by  Edward  D.  Adams. 

8 EIGHT  BELLS 

The  deck  of  a fishing  schooner  with  two 
men,  seen  to  the  knees,  taking  mid-day 
observations.  They  are  dressed  in  oil- 
skins. The  one  at  the  left,  with  his 
back  toward  the  spectator,  holds  the  tele- 
scope of  a sextant  to  his  eye.  His  mate, 
seen  in  profile  to  the  left,  looks  down  at 
an  instrument  that  he  holds  with  both 
hands.  The  edge  of  the  taffrail  shows  at 

1 1 


CATALOGUE  OF  PAINTINGS 


the  left;  a fragment  of  rigging  is  at  the 
right,  and  in  the  right  lower  corner  there 
is  a red  post  with  rope  wound  about  the 
top.  Beyond,  at  the  left,  is  the  greenish 
sea  with  white-capped  waves.  Cloudy 
sky  with  occasional  breaks  through  which 
the  sun  shines. 

Lent  to  the  National  Academy  of  Design 
in  1888  by  Thomas  B.  Clarke,  who  also 
lent  it  to  the  Columbian  Exposition, 
Chicago,  1893.  From  the  Clarke  sale, 
1899.  Illustrated  in  Brush  and  Pencil, 
Vol.  X,  1902,  p.  41. 

Oil  on  canvas:  h.  30^  ; w.  25^.  Signed 
in  center  of  lower  edge : Winslow  homer 
1886. 

Lent  by  Edward  T.  Stotesbury. 

9 COAST  IN  WINTER 
A rough,  rocky  shore,  partly  covered 
with  snow,  through  which  the  rocks 
show  dark  brown  in  places,  with  dried 
grass  and  weeds  growing  in  the  crevices. 
The  cliff  slopes  down  to  the  right  in  the 


BY  WINSLOW  HOMER 


middle  distance;  beyond,  green  waves 
dash  against  the  rocks,  throwing  high 
their  mist  against  a gray  sky.  In  the 
foreground  stands  the  small  figure  of  a 
man  wearing  a blue  coat  and  carrying  on 
his  back  a dead  wild  duck  which  he 
holds  over  his  left  shoulder;  under  his 
right  arm  is  a gun. 

Lent  to  the  Columbian  Exposition,  Chi- 
cago, 1893,  b7  J°hn  G.  Johnson. 

Oil  on  canvas:  h.  30;  w.  48.  Signed  in 
lower  left  corner:  Winslow  Homer  1890* 
Lent  by  John  G.  Johnson. 

10  SUNLIGHT  ON  THE  COAST 
A heavy  green  wave  is  breaking  over  the 
brown  rocks  in  the  lower  left  corner  of 
the  picture.  Two  masses  of  rock  rise 
out  of  the  foam,  and  at  the  extreme  left 
spray  is  thrown  up.  Dull  gray  sea  be- 
yond, with  a steamship  on  the  horizon 
at  the  right.  Gray  sky  and  fog,  through 
which  the  sunlight  falls  on  the  crest  of 

G 


CATALOGUE  OF  PAINTINGS 


the  wave,  the  spray,  and  the  foam  in  the 
foreground. 

Lent  to  the  Columbian  Exposition,  Chi- 
cago, 1893,  by  J°hn  G.  Johnson. 

Oil  on  canvas:  h.  3 1 % ; w.  36.  Signed 
in  lower  left  corner:  Winslow  Homer. 

1890. 

Lent  by  John  G.  Johnson. 

1 1 WEST  WIND 

Sand  dunes  near  the  sea  with  a woman 
standing  on  the  shore  and  looking  toward 
the  ocean  at  the  right.  Her  right  hand  is 
raised  to  hold  her  cap  and  her  brownish 
cape  and  dress  are  blown  in  the  wind. 
The  surf  beyond  is  brilliant  with  white 
breakers  and  pale  green  waves ; violet- 
gray  sky. 

Lent  to  the  Munich  Exposition,  1882,  and 
Columbian  Exposition,  Chicago,  1893,  by 
Thomas  B.  Clarke;  National  Academy  of 
Design,  1908  and  1910  by  Mr.  Unter- 
myer.  From  the  Clarke  sale,  1899. 


BY  WINSLOW  HOMER 


Illustrated  in  The  Story  of  American 
Painting  by  Caffin,  p.  235,  and  his  Amer- 
ican Masters  of  Painting,  p.  74. 

Oil  on  canvas : h.  30^  ; w.  44  • Signed 

at  lower  left  corner : Winslow  Homer  1891. 
Lent  by  Samuel  Untermyer. 

12  HOUND  AND  HUNTER 
In  the  center  of  the  picture  is  a rowboat 
with  a hunter  lying  at  full  length  in  the 
stern  and  grasping  with  his  right  hand  the 
antlers  of  a deer  that  is  in  the  water.  In 
the  foreground,  at  the  left,  a hound  is 
swimming  toward  the  boat ; bright  ripples 
are  on  the  water.  A nearby  shore  with 
dense  autumn  foliage  forms  the  back- 
ground. 

Exhibited  at  the  Columbian  Exposition, 
Chicago,  1893,  when  it  received  a gold 
medal ; National  Academy  of  Design, 
1908;  Carnegie  Institute,  Pittsburg,  1900 
and  1908.  Illustrated  in  McSpadden’s 
Famous  Painters  of  America,  p.  186. 

lS 


CATALOGUE  OF  PAINTINGS 


Oil  on  canvas : h.  28  ; w.  47*4  . Signed  at 
lower  right : Winslow  Homer  1892. 

Lent  by  Louis  Ettlinger. 

13  THE  FOX  HUNT 
A snow-covered  hillside  near  the  sea.  In 
the  immediate  foreground  to  the  left  of 
the  center  of  the  picture,  a red  fox  is  run- 
ning, his  hind  legs  deep  in  the  snow  and 
his  left  foreleg  raised.  His  head,  with 
its  black  ears,  is  turned  away  from  the 
spectator  and  toward  two  black  crows 
which  fly  above  him  at  the  right.  Other 
crows  come  from  the  green  sea  at  the 
extreme  right,  flying  near  a clump  of 
russet  bushes.  Dry  twigs  show  through 
the  snow  and  at  the  extreme  left  is  a branch 
wflth  bright  red  berries.  Beyond,  at  the 
left,  are  brown  rocks  against  which  waves 
are  dashing  and  throwing  up  green  spray ; 
above  flies  a white  gull.  In  the  distance 
the  sea  is  gray,  with  a brilliant  light  at  the 
left  from  a break  in  the  heavy  gray 
clouds. 

1 6 


BY  WINSLOW  HOMER 


Exhibited  at  the  Pennsylvania  Academy 
of  the  Fine  Arts,  1893-4;  Paris  Exposi- 
tion, 1900;  Carnegie  Institute,  Pittsburg, 
1908;  Berlin  and  Munich,  1910.  Illus- 
trated in  History  of  American  Painting  by 
Isham,  p.  356,  under  the  title  of  Winter; 
engraved  by  Henry  Wolf  forThe  Century, 
August,  1893,  with  the  title  Fox  and 
Crows;  illustrated  in  Brush  and  Pencil, 
VoL  X,  p.  43  ; International  Studio,  June, 
1908  ; fully  described  by  Frank  Fowler, 
Scribner’s,  May,  1903. 

Oil  on  canvas:  h.  68%;  w.  38%.  Signa- 
ture at  lower  left,  half  hidden  in  the 
snow:  homer  1893. 

Lent  by  The  Pennsylvania  Academy  of 
the  Fine  Arts,  Temple  Collection. 

14  WORLD’S  COLUMBIAN  EX- 
POSITION—THE  FOUN- 
TAIN AT  NIGHT 
MacMonnies’  fountain  at  the  Columbian 
Exposition  at  Chicago  in  1893,  is  shown 
under  electric  light.  A pair  of  sea-horses 

i7 


CATALOGUE  OF  PAINTINGS 


and  their  driver  face  to  the  left  with  the 
water  playing  about  them.  In  the  band 
of  light  that  fails  on  the  canal  in  the  fore- 
ground, there  is  a gondola  with  two  gon- 
doliers rowing  and  two  women  seated  in 
the  center. 

Monochrome  in  oil  on  canvas:  h.  16  ; 
w.  25.  Marked  on  the  back:  Copyrighted, 
W.  Homer,  1 893. 

Lent  by  Charles  S.  Llomer. 

15  MOONLIGHT— WOOD  IS- 
LAND LIGHT 

The  light  from  an  unseen  moon  is  on  the 
water  at  the  left  of  the  picture.  A blue 
wave  breaks  against  the  rocks  in  the  fore- 
ground at  the  left  and  beyond  the  sea  is 
blue-gray.  On  the  horizon  at  the  right 
there  are  lights  on  a line  of  shore,  and  on 
the  point  of  land,  near  the  center  of  the 
picture,  is  the  brilliant  red  glow  of  the 
lighthouse  lamp.  Gray  sky  with  a few 
clouds  edged  with  moonlight. 

From  the  Thomas  B.  Clarke  sale,  1899. 

18 


BY  WINSLOW  HOMER 


Oil  on  canvas:  h.  303^;  w.  40.  Signed 
at  lower  left:  W.  H.  1894.  Inscribed 
on  the  back  of  the  stretcher:  Wood  Island 
Light,  Winslow  Homer. 

Lent  by  George  A.  Hearn. 

16  THE  FISHER  GIRL 
The  full-length  figure  of  a woman  stand- 
ing half-way  up  a rocky  bank.  Her  head 
is  in  profile  and  her  right  hand  is  raised 
to  shield  her  eyes  as  she  looks  toward 
the  sea  at  the  left.  A net  with  cork  floats 
hangs  over  her  left  shoulder  and  is  held 
by  her  raised  left  hand.  Her  hair  is  brown, 
and  she  wears  a light  brown  dress  and  a 
small  plaid  shawl.  Through  the  fog 
which  hangs  over  the  whole  scene  there  is 
a glimpse  of  rough  waves  at  the  left; 
above,  at  the  right,  is  a white  gull. 

Exhibited  at  Carnegie  Institute,  Pitts- 
burg, 1908. 

Oil  on  canvas:  h.  28%;  w.  28%  . Signed 
at  lower  right:  homer  ’94. 

Lent  by  Burton  Mansfield. 

19 


CATALOGUE  OF  PAINTINGS 


1 7 WATCHING  THE  BREAKERS; 
A HIGH  SEA 

Two  men  and  a woman,  with  their  backs 
toward  the  spectator,  stand  close  together 
in  the  snow  in  the  foreground  of  the  pic- 
ture. The  woman  wears  a dark  dress  and 
a red  hood  and  the  men  are  in  oilskins. 
In  front  of  them  a mass  of  white  spray  rises 
above  dark  brown  rocks,  and  the  sea  be- 
yond is  greenish-gray  with  waves  and  float- 
ing foam.  The  sky  is  violet-gray. 

Exhibited  at  the  Boston  Art  Club  and  at 
the  Worcester  Museum.  Illustrated  in 
Painters  Since  Leonardo,  by  J.  W.  Pattison, 
p.  212;  Brush  and  Pencil,  Vol.  X,  1902, 
p.  50. 

Oil  on  canvas:  h.  24^;  w.  38.  Signed 
at  lower  left:  Wins  low  Homer  1896. 

Lent  by  Mrs.  H.  W.  Rogers. 

18  SACO  BAY  — THE  COMING 
STORM 

In  the  foreground  is  a rounded  mass  of 
dark  gray  rock,  on  which  stand  two  women 


20 


BY  WINSLOW  HOMER 


with  their  backs  toward  the  ocean,  the 
figures  silhouetted  against  the  sea  and  sky. 
The  one  at  the  right,  standing  on  the 
crest  of  the  rocks  with  her  head  in  profile 
to  the  right,  has  a fish-net  with  cork  floats 
over  her  shoulder ; the  other  woman,  who 
has  not  quite  reached  the  summit  of  the 
cliff,  looks  toward  the  left ; with  her  right 
hand  she  holds  a lobster-pot  against  her 
hip  and  her  left  arm  is  akimbo.  A pink 
glow  is  on  the  sea  and  there  are  rollers 
near  the  shore  at  the  left.  The  rim  of 
the  setting  sun  shows  above  blue  clouds 
at  the  horizon  and  near  the  top  of  the 
picture  are  heavy  clouds  edged  with  light. 
Against  the  horizon  there  is  a small  sail- 
boat at  the  left  and  a line  of  shore  at  the 
right. 

Exhibited  at  the  Pennsylvania  Academy  of 
the  Fine  Arts,  1896—7;  Society  of  Amer- 
ican Artists,  1897,  when  it  was  selected 
for  the  Lotos  Club  Purchase  Fund;  Car- 
negie Institute,  Pittsburg,  1908. 


21 


CATALOGUE  OF  PAINTINGS 


Oil  on  canvas:  h.  24^;  w.  38.  Signed 
at  lower  right:  homer  1896. 

Lent  by  The  Lotos  Club. 

19  MAINE  COAST 

Foaming  water  from  a receding  wave 
rushes  between  the  dark  rocks  in  the  fore- 
ground. An  approaching  gray-green  wave 
breaks  at  the  left,  throwing  up  spray ; 
beyond,  other  waves  emerge  from  the  mist. 
Dull  gray  sky. 

From  the  Thomas  B.  Clarke  Sale,  1899; 
collection  of  F.  A.  Bell.  Shown  at  the 
Paris  Exposition,  1 900.  Illustrated  in  The 
Century,  September,  1899,  p.  652  ; Amer- 
ican Masters  of  Painting,  by  CafFin,  p.  78. 

Oil  on  canvas:  h.  30^;  w.  44.  Signed 
at  lower  right:  homer  1896. 

Lent  by  George  A.  Hearn. 

20  SUNSET  AND  MOONRISE— 
(Kissing  the  Moon) 

Three  men  are  in  a dory,  which  is  in  the 
trough  of  the  waves  and  almost  hidden  by 

22 


BY  WINSLOW  HOMER 


a dark  blue  wave  in  the  immediate  fore- 
ground at  the  right.  The  man  at  the 
left,  seated  in  the  stern  of  the  boat,  steering 
with  an  oar,  is  seen  in  profile  facing  toward 
the  right;  he  wears  an  oilskin  coat  and 
a close-fitting  cap.  The  other  two  sailors, 
with  their  backs  toward  the  spectator,  wear 
oilskins,  the  center  one  having  a black  sou’- 
wester and  yellow  coat  and  the  man  to  the 
right  a yellowish  sou’wester  and  a black 
coat.  The  bow  of  the  boat  appears  at  the 
extreme  right.  Beyond  are  gray-green 
waves  with  white-capped  crests,  which, 
toward  the  right,  cut  off  the  lower  part  of 
the  full  moon  rising  silvery-gray  against  a 
violet-gray  sky.  The  glow  of  the  setting 
sun  is  over  all. 

Exhibited  at  the  Pennsylvania  Academy 
of  the  Fine  Arts,  1905.  Illustrated  in  the 
Critic,  April,  1905,  p.  322;  Arts  and  Dec- 
oration, November,  1910. 

Oil  on  canvas:  h.  30^  ; w.  40 */&  . Signed 
at  lower  right:  homer  I904s  Inscribed 

23 


CATALOGUE  OF  PAINTINGS 


on  the  back  of  the  center  stretcher:  Wins- 
low Homer  Picture  finished  Nov.  15,1 904. 
Lent  by  Lewis  A.  Stimson. 

21  CAPE  TRINITY,  SAGUENAY 
RIVER— MOONLIGHT 
An  enormous  promontory  with  numer- 
ous rounded  ledges  juts  out  from  the  right 
and  occupies  a large  part  of  the  picture. 
At  its  base  is  the  river,  which  reflects  the 
dark  mass  and  winds  around  the  point  of 
the  cape  at  the  left.  On  the  distant  shore 
at  the  left  there  are  ranges  of  hills  against 
the  low  horizon.  The  sky  is  cloudy.  A 
quarter  moon  just  above  the  headland  is 
reflected  in  the  dark  water  in  the  immedi- 
ate foreground. 

Exhibited  at  the  Union  League  Club. 

Oil  on  canvas:  h.  29  ; w.  48%  . Inscribed 
on  the  back  of  stretcher:  This  is  to  certify 
that  I painted  this  picture  of  Cape  Trinity. 
Winslow  Homer,  June  1909. 

Lent  by  Burton  Mansfield. 

24 


BY  WINSLOW  HOMER 


22  RIGHT  AND  LEFT 

Just  above  the  dull  gray  sea  are  two  wild 
ducks  which  have  been  shot  from  the 
right  and  left  barrels  of  a gun  in  the  hands 
of  a hunter,  who  is  in  a row-boat  beyond. 
The  duck  at  the  right  is  falling  head  fore- 
most into  the  water;  the  drake,  with  its 
dark  green  head  extended,  has  just  received 
the  second  shot,  the  flash  of  which  is  still 
visible.  The  sea  is  dull  gray  with  light 
green  foam  in  the  foreground ; the  cloudy 
gray  sky  is  brilliantly  lit  across  the  top  of 
the  picture. 

Exhibited  at  the  Century  Association,  1909; 
Pennsylvania  Academy  of  the  Fine  Arts, 
1910.  Last  completed  Picture. 

Oil  on  canvas  : h.  28%  ; w.  48^  . Signed 
at  lower  right : homer  1909. 

Lent  by  Randall  Morgan. 

23  SHOOTING  THE  RAPIDS, 
SAGUENAY  RIVER  (Unfinished) 

Three  men  in  a birch-bark  canoe.  In  the 
center  a sportsman,  seated  in  the  bottom 

1 y 

25 


CATALOGUE  OF  PAINTINGS 


of  the  boat,  grasps  the  gunwales  with  both 
hands;  back  of  him  at  the  right  a Canadian 
guide  holds  a paddle;  in  the  front  of  the 
canoe  is  another  guide,  with  his  hands  in 
position  for  paddling,  although  the  paddle 
has  not  been  painted.  The  wave  on  the 
crest  of  which  the  boat  rests  is  slate-gray, 
and  yellowish  spray  from  the  rapids  rises 
beyond.  A steep  hill  on  the  farther  shore 
of  the  river  slopes  down  at  the  right,  show- 
ing a second  hill  and  a bit  of  gray  sky. 

This  picture  was  in  the  artist’s  studio  at 
Prout’s  Neck,  at  the  time  of  his  death. 
Proposed  changes  are  indicated  in  white 
chalk  and  the  bare  stained  canvas  shows  in 
places. 

Oil  on  canvas:  h.  30;  w.  48^. 

Lent  by  Charles  S.  Homer. 


26 


WATER  COLORS 


24  BERRY  PICKERS 
A rocky  field  with  a number  of  children 
carrying  tin  cans  and  picking  berries.  At 
the  left  a girl  is  leaning  against  a gray 
boulder,  holding  her  pail  in  her  right 
hand ; she  wears  a dark  skirt,  a yellowish 
apron  and  blouse  trimmed  with  red,  and  a 
straw  hat  with  brown  ribbon.  The  head 
and  shoulders  of  another  girl  appear  above 
the  boulder  at  the  extreme  left.  Two 
boys  and  a girl  are  seated  in  the  grass. 
The  little  girl  in  the  immediate  foreground 
in  the  center  of  the  picture,  with  her  back 
toward  the  spectator,  wears  a yellow  dress; 
facing  her  at  the  right  is  a boy  in  brown 
trousers  and  vest,  white  shirt-sleeves,  and  a 
brimmed  straw  hat;  while  the  other  boy, 
seen  from  the  back,  has  dark  trousers  and 
a white  shirt.  Beyond,  at  the  right,  two 

27 


CATALOGUE  OF  PAINTINGS 


other  figures  are  suggested.  The  ground 
is  covered  with  low  bushes  and  wild  flow- 
ers, and  there  are  large  boulders  in  the 
middle  distance  at  the  left.  In  the  dis- 
tance is  a line  of  blue  water  and  sail-boats 
are  on  the  horizon  at  the  right. 

Painted  in  New  England. 

Water  color  on  paper:  h.  9^  ; w.  13%. 
Signed  at  lower  right:  homer  July  1873. 
Lent  by  Mrs.  Lawson  Valentine. 

25  BOYS  WADING 
In  the  foreground  is  a sandy  beach;  in 
the  shallow  water  two  boys  stand  knee 
deep,  bending  over  and  rolling  up  their 
trousers.  The  one  at  the  right,  with  his 
back  toward  the  spectator,  wears  gray 
trousers,  a white  shirt,  and  a brown  hat; 
the  one  at  the  left,  seen  in  profile  facing 
his  companion,  wears  a straw  hat,  light 
brown  trousers  and  vest,  with  white  shirt- 
sleeves showing.  In  the  background  a 
dock  with  sheds  stretches  across  the  pic- 

28 


BY  WINSLOW  HOMER 


ture,  and  a two-masted  green  schooner 
with  sails  down  is  moored  with  its  side 
along  the  dock.  High  horizon  and  light 
gray  sky. 

Painted  at  Gloucester,  Mass. 

Water  color  on  paper:  h.  gy$  , w.  13%. 
Signed  at  lower  right:  w.  homer  1873. 
Lent  by  Mrs.  Lawson  Valentine. 

26  SHEPHERDESS 
In  the  foreground,  on  a grassy  knoll  in 
shadow,  a young  girl  wearing  a red  dress 
and  a sun  bonnet  lies  at  full  length  with 
her  head  propped  on  her  right  arm ; near 
her  at  the  left  are  two  sheep.  Beyond,  at 
the  extreme  left,  a large  tree  throws  its 
shadow  across  the  field ; a stone  wall  back 
of  the  tree  follows  the  rise  of  a hill  toward 
a clump  of  trees  at  its  top.  Sheep  are 
grazing  on  the  hillside,  which  is  in  bright 
sunlight.  Distant  blue  hills  are  at  the 
horizon ; the  sky  is  light  blue  with  thin 
white  clouds. 


29 


CATALOGUE  OF  PAINTINGS 


Painted  at  Houghton  Farm,  Mountain- 
ville,  N.  Y. 

Water  color  on  paper:  h.  6 ^ ; w.  8 1-16. 
Signed  at  lower  left:  homer  1878. 

Lent  by  Mrs.  Lawson  Valentine. 

27  HILLSIDE 

In  the  foreground  a young  girl  is  seated 
with  her  figure  in  profile  looking  to  the 
right.  Her  hands  are  clasped  back  of  her 
head  and  her  brown  hair  hangs  in  a braid 
down  her  back;  she  wears  a brownish 
dress.  Immediately  back  of  her  is  a green 
hillside,  and  on  its  crest  at  the  left  are 
trees  and  red  buildings;  other  trees  are  on 
the  ridge  of  the  hill  which  slopes  down 
at  the  right.  Blue  distance  beyond ; light 
sky. 

Painted  at  Houghton  Farm,  Mountain- 
ville,  N.  Y. 

Water  color  on  paper  : h.  6^  ; w.  . 
Signed  at  lower  right : homer  1878. 
Lent  by  Mrs.  Lawson  Valentine. 

3° 


BY  WINSLOW  HOMER 


28  ON  THE  BEACH,  TYNE- 
MOUTH 

A wet,  sandy  beach,  with  two  young 
women  standing  in  front  of  a dark  fishing- 
boat,  which  is  drawn  up  with  its  side  to- 
ward the  shore  and  the  stern  at  the  right. 
Both  figures  are  in  profile  toward  the 
right.  The  front  one,  carrying  a child 
on  her  back,  wears  a red  plaid  shawl  about 
her  head;  the  skirt  of  her  brownish  dress 
is  tucked  up,  showing  a white  underskirt 
trimmed  with  a band  of  red,  and  red 
stockings.  The  woman  at  the  left,  with 
a large  brown  fish-basket  on  her  back,  is 
bareheaded  and  wears  a light  blue  blouse 
with  sleeves  rolled  up,  a dark  kerchief,  a 
dark  brown  skirt,  and  lighter  underskirt. 
At  the  left,  beyond  the  boat,  are  silhouettes 
of  two  figures  with  baskets.  Quiet  light 
blue  sea;  light  cloudy  sky. 

Water  color  on  paper:  h.  13%;  w.  19. 
Signed  at  lower  left : Winslow  Homer  1881. 
Lent  by  Charles  S.  Homer. 


3 1 


CATALOGUE  OF  PAINTINGS 


29  PERIL  OF  THE  SEA 

In  the  foreground  two  women  stand  on  a 
plank  walk  at  the  top  of  a bluff  and  look 
to  the  right  toward  the  sea.  They  are 
dressed  in  dull  blue  and  their  aprons  blow 
in  the  wind ; the  one  in  front  holds  a 
jacket  about  her  head  with  both  hands,  and 
her  companion  has  a shawl  over  her  head 
and  shoulders.  On  the  beach  below  are 
a number  of  men  in  oilskins,  one  of  whom 
extends  his  left  arm  toward  the  right,  point- 
ing to  the  foamy  sea.  At  the  left  is  part 
of  a cottage  with  a sloping  roof  and  a porch 
upheld  by  columns.  Dull  gray  sky. 

From  the  Thomas  B.  Clarke  Sale,  1899. 
Water  color  on  paper:  h.  14;  w.  20^. 
Signed  at  lower  right:  homer  1881. 
Lent  by  Alexander  C.  Humphreys. 

30  WATCHING  THE  TEMPEST 
A boat  on  the  beach  with  a line  of  men 
standing  behind  it  watching  the  tempest 
and  ready  to  push  off.  They  wear 
brown,  blue,  or  red  coats  with  sou’- 


BY  WINSLOW  HOMER 


westers  to  match,  and  several  have  life- 
preservers  about  their  bodies.  Two  fig- 
ures in  the  foreground  at  the  right  are 
peering  around  the  prow  of  the  boat. 
Beyond,  at  the  left,  are  other  figures,  and 
numerous  boats  are  drawn  up  an  incline 
at  the  head  of  which  is  a building.  Along 
the  bluff  at  the  top  of  the  sandy  em- 
bankment, at  the  left,  groups  of  people  are 
indicated,  and  red  roofs  appear  beyond. 
At  the  right  is  a mass  of  white  spray. 
Gray  sky. 

Exhibited  at  the  Art  Institute  of  Chicago, 
1889.  From  the  Thomas  B.  Clarke  Sale, 
1899. 

Water  color  on  paper:  h.  13^2  ; w.  19%  - 
Signed  at  lower  left:  Winslow  Homer  1881. 
Lent  by  Burton  Mansfield. 

31  FISHWIVES 

Three  women  on  a rocky  beach  with 
white  surf  and  gray  sky  beyond.  The 
figure  at  the  right  stands  in  profile  toward 
the  left  and,  with  arms  akimbo,  holds  a 

33 


CATALOGUE  OF  PAINTINGS 


fish-basket  on  her  back;  she  wears  a blue 
skirt;  and  over  her  head  and  crossed  about 
her  is  a gray  kerchief.  The  other  two 
women,  walking  toward  the  left,  are  seen 
from  the  back,  their  blue  skirts  and  brown 
scarfs  blowing  in  the  wind;  one  wears  a 
blue  hood  and  the  other  a red  one.  A 
sail-boat  and  a steamer  are  on  the  horizon 
at  the  extreme  left.  There  are  pools  of 
water  in  the  foreground. 

Water  color  on  paper:  h.  18;  w.  29 . 
Signed  at  lower  right:  homer  1882. 

Lent  by  Charles  S.  Homer. 

32  FISHING  BOATS  OFF  SCAR- 
BOROUGH 

In  the  center  of  the  picture  is  a fishing- 
boat  with  a square  sail.  There  are  two 
men  and  two  women  in  the  boat.  The 
women  are  seated  near  the  gunwale;  the 
one  at  the  left  rests  her  hands  on  the 
shoulders  of  her  companion,  who  has 
both  hands  on  a large  fish-basket.  Partly 
hidden  by  the  basket  is  a man  in  oilskins, 

34 


BY  WINSLOW  HOMER 


who  steers  with  the  tiller  under  his  left 
arm;  at  the  left  the  other  man,  also  in 
oilskins,  stands  near  the  mast  in  the  prow 
of  the  boat.  The  name, — Armouth, 
is  inscribed  on  the  side  of  the  boat  near 
the  stern;  the  first  letter  is  illegible. 

Drawing  in  pencil  and  Chinese  white  on 
gray  paper:  h.  17^;  w.  23^.  Signed 
at  lower  left:  Winslow  Homer  1882. 

Lent  by  Alexander  W.  Drake. 

33  A VOICE  FROM  THE  CLIFFS 
Three  young  fisherwomen,  seen  three- 
quarter  length,  stand  close  together  facing 
toward  the  right.  A high  white  chalk 
cliff  rises  in  the  background.  The  women 
are  bareheaded.  The  one  in  the  fore- 
ground wears  a black  skirt,  a white 
blouse  and  apron,  and  a black  shawl  is 
crossed  over  her  breast;  with  both  hands 
she  holds  a basket  with  a handle.  The 
woman  at  the  right  holds  a similar  basket 
in  which  are  two  balls  of  blue  knitting 
yarn;  a light  flowered  scarf  is  crossed  over 

35 


CATALOGUE  OF  PAINTINGS 


her  red  blouse,  and  her  apron  is  faded 
dark  blue.  The  woman  behind  these  two 
carries  over  her  right  shoulder  a heavy 
fish-net  with  cork  floats,  which  she  sup- 
ports with  her  arm  akimbo,  while  the 
ends  of  the  ropes  are  held  with  her  left 
hand;  she  wears  a dark  plaid  skirt,  a 
white  apron,  and  a white  blouse  over 
which  is  a red  shawl.  The  smooth  sea 
is  light  green.  A square-sailed  boat, 
with  three  men  in  it,  lies  at  the  foot  of 
the  cliff  at  the  right,  and  at  the  left  an 
empty  fishing  boat  is  drawn  up  on  the 
shore  of  the  cove.  Above  the  cliffs  in 
the  upper  right-hand  corner  there  is  a 
glimpse  of  blue  sky  with  white  clouds. 
Shown  at  the  American  Water  Color 
Society,  1883,  when  a line  drawing  of  the 
figures  was  used  on  the  title-page  of  the 
catalogue. 

Water  color  on  paper:  h.  20^  ; w.  29^  . 
Signed  at  lower  right:  Winslow  Homer , 

1 883. 

Lent  by  Alexander  C.  Humphreys. 

36 


BY  WINSLOW  HOMER 


34  TROUT 

In  the  center  is  a speckled  trout  that 
has  jumped  out  of  the  water  to  catch  a red 
fly.  The  fly  and  hook  float  on  the  water 
beneath  him,  and  the  line  to  which  they 
are  attached  stretches  across  the  foreground 
in  a ripple  of  light.  The  background  is 
dark  green. 

Water  color  on  paper,  h.  12*4 ; w.  . 
Signed  at  upper  left:  homer  ’89. 

Lent  by  Charles  S.  Homer. 

35  SALT  KETTLE 

An  inlet  with  a curved  shore.  In  the 
foreground  at  the  right  is  a road  with  sun- 
light and  shadow;  beyond  are  trees  and  a 
grassy  bank.  Farther  on,  at  the  water’s 
edge,  are  two  white  buildings  in  brilliant 
sunlight,  which  are  reflected  in  the  water. 
In  front  of  the  right-hand  building,  row- 
boats are  drawn  up  or  fastened  to  a wharf, 
and  on  the  point  of  land  at  the  left  is  a 
dilapidated  old  boat.  A line  of  deep  blue 
water  is  in  the  middle  distance,  and  there 

37 


CATALOGUE  OF  PAINTINGS 


are  white  buildings  on  the  farther  shore 
at  the  left.  Deep  blue  sky  with  clouds. 
Water  color  on  paper:  13%;  w.  2034. 
Inscribed  at  lower  right : Salt  Kettle  1890; 
Bermuda  erased  from  inscription. 

Lent  by  Charles  S.  Homer. 

36  ST.  JOHNS  RIVER,  FLORIDA 
The  river  in  the  foreground  reflects  the 
farther  shore  where  there  are  live  oaks 
with  hanging  moss  and  other  trees.  In 
the  center  is  a white  rowboat  with  two 
men : the  one  in  the  stern  at  the  right  is 
casting  his  fishing  line  and  the  hook  makes 
a bright  ripple  in  the  water  back  of  him; 
his  companion  wears  a yellow  coat  and  is 
seated  in  the  boat  facing  the  fisherman. 
Water  color  on  paper : h.  13^2  ;w.  19%. 
Signed  at  lower  right:  homer  1890. 

Lent  by  Charles  S.  Homer. 

37  SKETCH  FOR  HOUND  AND 
HUNTER 

The  sketch  varies  from  the  painting  (No. 
1 2 in  this  exhibition)  in  that  the  point  of 

38 


BY  WINSLOW  HOMER 


view  is  lower,  the  body  of  the  deer  shows 
more  distinctly  through  the  water,  the  dog 
is  more  deeply  immersed,  and  there  is  no 
foam  in  the  immediate  foreground. 

Water  color  on  paper : h.  i 3 ^ ; w.  1 g%  . 
Signed  at  lower  right:  homer  ’92.  In- 
scribed at  lower  center : Presented  to 

C.  S.  Homer,  Jr.  1892. 

Lent  by  Charles  S.  Homer. 

38  TURTLE  POUND 
In  the  foreground  a nude  negro  with  ruddy 
skin,  stands  up  to  his  waist  in  the  water, 
holding  with  both  hands  the  fore  flappers 
of  a large  turtle  and  showing  the  white 
under  side.  He  turns  to  the  right  toward 
another  negro.  Only  the  head  and  hands 
of  this  man  show  above  the  planks  of  the 
pound.  There  is  dark  blue-green  water 
in  the  foreground  and  at  the  left;  a sail- 
boat is  at  the  horizon.  Deep  blue  sky 
with  heavy  white  clouds. 

Water  color  on  paper:  h.  14^;  w.  21. 

39 


CATALOGUE  OF  PAINTINGS 


The  signature  on  the  planks  at  the  right 
is  half  hidden  by  water  : homer  1898. 
Lent  by  Hamilton  Field. 

39  NATURAL  BRIDGE,  NASSAU 
A ledge  of  white  shale  stretches  across  the 
picture  with  the  blue  sea  beyond,  and  in 
the  foreground  at  the  left  the  water  shows 
beneath  a natural  arch  in  the  rock.  In 
the  immediate  foreground  at  the  right  a 
soldier,  wearing  a red  uniform,  lies  prone  on 
the  ground  looking  over  a precipice;  near 
by  are  shrubbery  and  rocks.  High  horizon 
and  light  gray  sky  streaked  with  blue. 

Water  color  on  paper:  h.  14;  w.  20 y2  . 
Property  of  the  Museum. 

40  PALM  TREE,  NASSAU 

In  the  foreground  is  a tall  palm  tree 
blown  in  the  wind  and  beyond  are  several 
smaller  palms.  Deep  blue  sea  with  a 
low  horizon,  against  which  is  a narrow 
strip  of  land  with  a white  lighthouse. 

40 


BY  WINSLOW  HOMER 


Purchased  from  the  estate  of  the  artist. 

Water  color  on  paper:  h.  21%  ; w.  14*4  . 
Signed  at  lower  right:  homer. 

Property  of  the  Museum. 


41  TORNADO,  BAHAMAS 
In  the  foreground  is  a group  of  house- 
tops and  above  them  rise  palm  trees 
blown  in  the  wind.  At  the  left  is  a 
glimpse  of  dull  green  sea.  Light  sky 
with  heavy  storm  clouds. 

Purchased  from  the  estate  of  the  artist. 


Water  color  on  paper:  h.  14;  w.  20%. 
Property  of  the  Museum. 


42  A WALL,  NASSAU 
Across  the  picture  stretches  a white  plas- 
tered wall  with  a gateway  at  the  left. 
Bushes  and  red  flowers  that  grow  on  the 
farther  side  of  the  wall  show  above  it,  as 
does  also  the  blue  sea  with  a sail-boat  in 
the  distance. 

Purchased  from  the  estate  of  the  artist. 


41 


CATALOGUE  OF  PAINTINGS 


Water  color  on  paper:  h.  14*4  ; w.  21. 
Signed  at  lower  right:  homer — Dec. 
3 1st  1 898. 

Property  of  the  Museum. 

43  BERMUDA 

On  the  white  beach  in  the  immediate 
foreground  are  three  rusty  cannon;  deep 
blue  sea  beyond.  A sail-boat,  manned  by 
two  negroes,  is  near  the  shore,  and  several 
other  vessels  are  farther  out.  In  the  dis- 
tance is  a line  of  brown  shore. 

Purchased  from  the  estate  of  the  artist. 

Water  color  on  paper:  h.  14^;  w.  21%. 
Signed  at  the  lower  right:  homer.  In- 
scribed at  lower  left:  Jan.  1st  1899. 
Property  of  the  Museum. 

44  FLOWER  GARDEN  AND 

BUNGALOW 

In  the  immediate  foreground  are  red  and 
yellow  flowers  and  at  the  left,  palms.  A 
yellow  bungalow,  with  white  roof  and 


BY  WINSLOW  HOMER 


chimney,  is  beyond  at  the  edge  of  a blue 
bay.  In  the  distance  the  shore  is  dotted 
at  the  right  with  white  buildings  and  at 
the  left  there  is  a wooded  point. 

Purchased  from  the  estate  of  the  artist. 

Water  color  on  paper:  h.  i 3 y2  ; w.  20%  . 
Signed  at  lower  right:  Winslow  Homer , 
Bermuda  1899. 

Property  of  the  Museum. 


45  SHORE  AND  SURF,  NASSAU 
In  the  foreground  is  a stony  beach; 
beyond  are  green  waves  and  surf  and 
floating  brown  seaweed.  At  the  extreme 
left  is  a white  lighthouse,  and  on  the 
horizon,  where  the  water  is  deep  blue,  is 
a large  steamer.  Gray  sky. 

Purchased  from  the  estate  of  the  artist. 

Water  color  on  paper:  h.  14*4  ; w.  21  yi  . 
Signed  at  lower  right:  homer.  In- 
scribed at  lower  left:  Nassau  99—0 
Property  of  the  Museum. 

43 


CATALOGUE  OF  PAINTINGS 


46  THE  BATHER 

A negro  stands  waist  deep  in  the  blue 
water  and  at  the  left,  farther  back,  is 
another  negro  with  only  head  and  shoul- 
ders showing  above  the  water.  On  the 
shore  in  the  distance,  at  the  right,  is  a 
pavilion  decorated  with  flags. 

Purchased  from  the  estate  of  the  artist. 

Water  color  on  paper:  h.  14;  w.  20%. 
Signed  at  lower  left:  homer  99.  In- 
scribed at  lower  right:  Nassau . 

Property  of  the  Museum. 

47  SLOOP,  BERMUDA 

Green  and  blue  water  with  a white  sloop 
seen  from  the  stern,  where  a reddish  row- 
boat is  tied;  two  negroes  are  in  the  sloop; 
the  sails  hang  in  wind-blown  swirls; 
clothes  are  hung  out  to  dry  on  the  boom. 
There  is  a small  boat  at  the  right  and  a 
strip  of  brown  shore  at  the  horizon. 
Stormy  sky. 

Purchased  from  the  estate  of  the  artist. 

44 


BY  WINSLOW  HOMER 


Water  color  on  paper:  h.  14.%  ; w.  21%  . 
Property  of  the  Museum. 

48  THE  PIONEER 

A partly  cleared  hilltop  with  several  tree 
trunks  and  numerous  stumps.  A wood- 
man with  an  axe  over  his  right  shoulder, 
stands  in  the  shadow  of  the  largest  tree. 
Blue  mountains  beyond;  luminous,  sunlit 
sky. 

Exhibited  at  the  Pennsylvania  Academy 
of  the  Fine  Arts  in  1903  and  at  the  Bos- 
ton Art  Club. 

Water  color  on  paper:  h.  1 3 ; w.  20*4  . 

Signed  at  lower  right:  homer  1900. 

Property  of  the  Museum. 

49  TAKING  ON  WET  PROVI- 
SIONS 

A small  boat  is  tied  near  the  prow  of  a 
schooner  and  a keg  is  being  put  on  board 
by  means  of  a block  and  tackle  worked 
by  a red-shirted  man  near  the  foremast; 

45 


CATALOGUE  OF  PAINTINGS 


a man  in  the  small  boat  steadies  the  keg. 
Another  sailor,  wearing  a red  shirt,  is  on 
the  farther  side.  The  schooner’s  sails  are 
down.  On  the  stern,  which  is  in  sun- 
light, the  name  Newport,  K.  W.,  is 
painted  on  a black  ground.  The  water 
is  light  blue-green  and  in  the  distance  at 
the  left  is  a small  sail-boat. 

Purchased  from  the  estate  of  the  artist. 

Water  color  on  paper:  h.  13^;  w.  21%. 
Signed  at  lower  right:  W.  H.  Inscribed 
at  lower  right:  Key  West  1903. 

Property  of  the  Museum. 

50  FISHING  BOATS,  KEY  WEST 
A white  sloop,  in  bright  sunlight,  with 
the  name  Lizzie  painted  on  the  side  near 
the  prow,  which  is  in  the  foreground  of 
the  picture  at  the  right;  a man  wearing 
a red  shirt  is  on  the  deck.  At  the  left  is 
part  of  another  boat,  which  casts  a dark 
green  shadow  on  the  light  blue-green 
water.  Cumulous  clouds. 

46 


BY  WINSLOW  HOMER 


Purchased  from  the  estate  of  the  artist. 

Water  color  on  paper:  h.  13*^  ; w.  21  ]/2  . 
Signed  at  lower  left:  homer  1903  and  at 
right:  W.  H. 

Property  of  the  Museum. 

51  HOMOSASSA,  FLORIDA 
The  river  is  in  the  foreground,  and  on  its 
bank  are  palm  trees.  At  the  left  is  a gray 
flat-bottomed  boat  in  which  are  two  men; 
the  one  in  front,  wearing  a yellow  coat 
and  a felt  hat,  is  casting  his  line ; the  other, 
back  of  him  in  the  bottom  of  the  boat, 
has  a slouch  hat  drawn  partly  over  his 
face.  Clear  quiet  water  with  reflections; 
gray  sky  and  brilliant  sunlight. 

Water  color  on  paper:  h.  13%;  w.  21^. 
Signed  at  lower  left:  homer  1904. 

Lent  by  Charles  S.  Homer. 


47 


INDEX 


INDEX 


PAGE 

Banks  Fishermen 9 

Bather  (water  color) 44 

Bermuda  (water  color)  ....  42 

Berry  Pickers  (water  color)  ...  27 

Boys  Wading  (water  color)  . , . 28 

Bright  Side 3 

Cape  Trinity,  Saguenay  River — 

Moonlight  ......  24 

Camp  Fire 7 

Coast  in  Winter  ......  12 

Early  Evening  8 

Eight  Bells  ........  11 

Fisher  Girl  ........  19 

Fishing  Boats,  Key  West  (water  color)  46 
Fishing  Boats  off  Scarborough  (draw- 

ing) 34 

Fishwives  (water  color)  ....  33 

Flower  Garden  and  Bungalow  (water 
color) 

S1 


42 


INDEX 


PAGE 

Fountain  at  Night — World’s  Co- 
lumbian Exposition  . . . . 17 

Fox  Hunt . 16 

High  Sea,  A — Watching  the  Breakers  20 
Hillside  (water  color)  ....  30 

Homosassa,  Florida  (water  color)  . 47 

Hound  and  Hunter 15 

Hound  and  Hunter  (water  color 

sketch) 38 

Kissing  the  Moon  (Sunset  and  Moon- 

rise)  22 

Maine  Coast 22 

Moonlight;  Wood  Island  Light  . 18 

Natural  Bridge,  Nassau  (water  color)  40 
On  the  Beach,  Tynemouth  ...  31 

Palm  Tree,  Nassau  (water  color)  . 40 


Peril  of  the  Sea  (water  color)  . . 32 

Pioneer  (water  color)  ....  45 

Right  and  Left 25 

Saco  Bay;  the  Coming  Storm  . . 20 

Salt  Kettle  (water  color)  . . . . 37 
Shepherdess  (water  color)  ...  29 


Shooting  the  Rapids;  Saguenay  River  25 

52 


INDEX 


PAGE 

Shore  and  Surf,  Nassau  (water  color)  43 

Sloop,  Bermuda  (water  color)  . . 44 

Snapping  the  Whip 4 

St.  J ohns  River,  Florida  (water  color)  3 8 

Sunlight  on  the  Coast  ....  13 

Sunset  and  Moonrise 22 

Taking  on  Wet  Provisions  (water 

color) 4 5 

Tornado,  Bahamas  (water  color)  . 41 

Trout  (water  color) 37 

Turtle  Pound  (water  color)  ...  39 

Tynemouth;  On  the  Beach  (water 


color) 31 

Undertow 10 

Visit  of  the  Mistress,  The  ...  5 


V oice  from  the  Cliffs,  A (water  color)  3 5 
Wall,  Nassau  (water  color)  . . . 41 

Watching  the  Breakers;  A High  Sea  20 
Watching  the  Tempest  (water  color)  32 

West  Wind 14 

Wood  Island  Light — Moonlight  . 18 

World’s  Columbian  Exposition— The 

Fountain  at  Night  ....  17 

53 


• * ‘ • 


